Tran tieu phi (sophie) 57090 part abc by Phi Tran

STUDIO

2015_S1_5 SOPHIE TRAN 570960

CONTENTS

INTRODUCTION

DESIGN FUTURING

A.1 DESIGN COMPUTATION

A.2 COMPOSITION/GENERATION

A.3 CONCLUSION

A.4 LEARNING OUTCOMES

A.5. APPENDIX - ALGORITHMIC SKETCHES

30-31 32

BIBLIOGRAPHY 33 IMAGE CREDITS

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PART A. CONCEPTUALISATION

INTRODUCTION

My name is Tieu Phi (Sophie) Tran. I am from Vietnam (Ho Chi Minh City). I moved and lived in Melbourne since year 7 of high school. My hobbies are analysis building by looking at the structure and forms as well as photography. Therefore, I chose Architecture as my major in Bachelor of Environment and I am currently in my final year of this course.

I love one book of Francois Blanciak which he records 1001 building forms using digital software. I believe digital architecture is developing a new way of modern architecture, there are many new building forms which can only be designed on digital and impossible to build. However, this cannot stop us from developing and experiencing new form in digital architecture as new building technologies are developing at the same time to make dreams in digital architecture come true. Apart from Rhino, I also know how to use Indesign, Illustrator, Photoshop.

I learned Rhinoceros since first year of my course. At the start, I thought this program was extremely complex but after using it for a few months, I found this program opened up a whole new world of digital architecture in my eyes. I come from a developing country where our technology is limited. Therefore, architecture in my eyes is just blocks of bricks and concrete that constructs together to form a building and designs are drawing on paper. However, Rhinoceros allow us design with more freedom in forms and shapes.

PART A. CONCEPTUALISATION

DESIGN FUTURING What is ‘design futuring’?

As human beings are moving forward the future, we invent all kinds of technologies that deconstruct the planet’s climate and ecological system. We are reaching the critical moment in our existence as we are facing a defuturing condition of unsustainability. It is our job as designers to design a new future for humanity and move forward sustainability. However, design is not an easy process that can be done by individual. It is critical design process that need to be discussed and debated across disciplines such as engineers [1]. We also need to ‘pre-figure’ [2] the aims of the projects and ideas between different disciplines before creating. As designer of future, we always have to keep in mind the relation between creation and deconstruction, “Currently, the planet’s renewable resources are being used up at a rate 25 per cent faster than they can be renewed, and the ecological human footprint (averaged over the global

population) has tripled since 1961.” [3] This quote suggests that we are creating our world and future so we need to think about how our designs can be sustainable because we will destroy something in the nature environment when we build. For example, we cutting down trees to build a house. Therefore, our job as architects in the future is developing a sustainable future for buildings. As a result, many new design softwares are developed for designer to input data that computer can analysis. Designs can be changed easily using the softwares. Recently, some projects are launching the idea of sustainability through new design and technologies, the School of Art, Design and Media at Nanyang Technological University in Singapore by CPG consultants [4] and Greenpix Zero Energy Media Wall by New York based architecture & media firm Simone Giostra & Partners. [5]

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The School of Art, Design and Media at Nanyang Technological University in Singapore, designed by CPG consultants, is an example of a sustainable building. The faculty is 5 story building which represents an organic form with green roof [FIGURE 1] that sweeps and merges into the landscape [6] [FIGURE 3]. This building is different to other building as it maintains the nature surround with hightechnologies and becomes a symbol of sustainability at Singapore. As a building for education in art, design and media, it is a good example for next generation to learn from when they design new building. This idea of maintaining nature environment of the site is also discussed in the lecture when Dr. Stanislav Roudavski explained when we add something to the nature we should also maintain parts of it. For example, a bridge across a freeway, which is built for animals to cross the road at Ecoduct Borkeld, the Netherland [7]. This

PART A. CONCEPTUALISATION: DESIGN FUTURING

School of Art, Design and Media at Nanyang Technological University in Singapore (2006)

create a pathway for both humans and animals. It highlighted as designer of future, we need to consider about our project before building it as we should to maintain the surrounding landscape [FIGURE 2] to move forward sustainability. Furthermore, the building received the Green Mark Platinum Award from the Building and Construction Authority (BCA) for the best practices in environmental sustainability. The building is built as it helps Nanyang Technological University save almost 120,000 kWh per year and more than 1,170 cubic metres of water saved per annum with the designs of high-efficient lights with motion and photo-cell sensors, retrofitted air-conditioning system as well as rainwater collection with rain sensors and irrigation system. Also, the green roof and glass are used with carbon dioxide sensors in its airhandling units help to reduce energy used and maintain a healthy indoor air quality for

students and teachers. Mr Chan Keng Luck, NTU’s Acting Chief Building and Infrastructure Officer of Nanyang Technological University said: “The BCA Green Mark Platinum Award is an important recognition of NTU’s commitment towards sustainability. The University has already secured more than $830 million in sustainability research. In addition, the NTU Campus Masterplan, which will guide the physical development of our campus over the next 15-25 years, is also based on sustainability principles. In fact, in the upcoming new academic year, all first-year undergraduates will take a compulsory course in environmental sustainability.” [8]

FIGURE 4

PART A. CONCEPTUALISATION: DESIGN FUTURING

Greenpix Zero Energy Media Wall by New York based architecture & media firm Simone Giostra & Partners in Beijing (2008)

Another example of moving forward sustainability with designs is the Greenpix Zero Energy Media Wall by New York based architecture & media firm Simone Giostra & Partners in Beijing. The wall is the worldâ&#x20AC;&#x2122;s largest color LED display, which has a self sustaining energy life-cycle. It collects sunlight during the day by the photovoltaic solar cells[FIGURE 5] and stored for lighting up at night. [9][FIGURE4] This is a combination of new technology and design which allow Beijing to move forward a sustainable future. The wall attached to an intelligent software, which control the lighting of the LEDs. This changes the way we think that commercial building with LEDs flashing days and nights may not be unsustainable. The project is built to show the world that commercial buildings with a lot of lighting do not mean they are unstainable as the energy can be saved by modern technologies.

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PART A. CONCEPTUALISATION:

A.1. DESIGN COMPUTATION architecture evaluated from calculation and drawing on paper to mathematic and generate coding [4]. Architects or designers are no longer need to be good at drawing as the programs can generate all kind of form with just a few input on computer. However, they need to be creative to generate the projects. Computational design techniques lead the professional practice across disciplines such as architects and engineers to explore new technologies and allow material creativity [5]. This opens up a whole new world for designing and constructing industries as projects are more creative. The algorithms in parametric designs allow each project to have their own rules as programming and become singular. The algorithms and parametric designs allow architects to explore and design complex forms as well as complex structures. For example, the Aspen Art Museum by Shigeru Ban Architects, New National Stadium by Zaha Hadid Architects and Busan Cinema Center by Coop Himmelb(l)au.

Traditional architecture design process is shifted from drawing on papers to algorithm [1] as it is a new technique for architects to use computer as a tool to capture the design and communicate the design through visual presentation, such as rendering. In the past, architects have limited time to figure out how to build the project with a short amount of time which can lead to false in building process [FIGURE 6]. In contrast, the design process with computer as a tool allow the architects to figure out how to build the design using analysis and visual programming [2]. As a result, false can be seen through 3-dimensional and changes can be applied quicker and easier. We apply algorithm as a language to communicate with the computer and tell it how we want the design to look like, at the end we can produce a parameter model [3] which can be changed multiple times to suit our unique ideas. An example of an algorithm program is grasshopper in rhino. Grasshopper is not a design tool but a programming tool as we only use it to generate codes, while rhino shows all the visual details of the models. By using algorithms, the fabrication of project become easier than construction in the past. This changes the design and construction industries as they can test the outcome of the project structure or form easily using the algorithms. Traditional

“I believe that the material doesn’t need to be strong to be used to build a strong structure. The strength of the structure has nothing to do with strength of the material.” -Shigeru Ban

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PART A. CONCEPTUALISATION: A.1. DESIGN COMPUTATION

Aspen Art Museum by Shigeru Ban Architects at 637 East Hyman Avenue, Aspen, CO 81611, USA (2014)

The intention of this design project is creating an interaction between the inside and outside through the use of wood framing structure[6]. An outer skin of wood structure which almost transparent applies to provide view from inside to outside [FIGURE 10], which also allow people from outside to engage with the interior. The designer uses computational design techniques to explore the form of the building as well as maintaining the original intention. As the result, interesting patterns are shown when sunlight past through the wood framing structure [FIGURE 7&9]. This creates a unique design. Furthermore, the computational design techniques allow the designer and engineer to understand the abilities of materials and how to construct a wood framing with maximum loading capacity. They can also use parametric design to analysis the notching [FIGURE 8] of the framing to create an extraordinary wood

ceiling structure [FIGURE 11]. This precedent highlight the idea that design computation is a tool we can use to express our creative and construct it in real life [7]. The tool help us to predict the form and structure of a project, which we can use as a starting point to generate it in real life.

FIGURE 12

“There are 360 degrees, so why stick to one?” - Zaha Hadid

PART A. CONCEPTUALISATION: A.1. DESIGN COMPUTATION

New National Stadium by Zaha Hadid Architects in Tokyo, Japan (Predicted 2020)

This is a coming up project of Zaha Hadid Architects. It is a project contain more than a large sports facility, which allows more than 80,000 people to come in the Olympic at Tokyo in 2020[8]. The singular geometric forms of the building is a good example for explaining the evolution of design processes by computational design techniques. This is the advantage of using algorithm as a tool to design because the geometry and all the components of the building is too complex to be drawn by hand. The form of the building merges gently into the urban landscape. It represents a complex form of bowl geometry, structure skeleton and cladding membranes which is light and cohesive. In order to come up with this design Zaha Hadid needs to work with people across different disciplines as the structure of the geometry is too complex. The parametric design allows designer to re-define their project to become a form which possible

to construct. Also, the model is rendering to provide an idea about the form as well as the effect of the design, such as lighting. This shows that computational design techniques allow designer to use visual presentation rather than words to engage people.

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PART A. CONCEPTUALISATION: A.1. DESIGN COMPUTATION

Busan Cinema Center by Coop Himmelb(l)au, Busan, South Korea (2012)

“Algorithmic thinking is the ability to understand, execute, evaluate, and create algorithms.”

The project involves many designers, engineers and scientists to analysis, design and construct the building. The building is well known by the Guinness World Record for the “longest cantilever roof” in the world [9]. The design process and construct of the flying roof goes through a lot of state. The designer use parametric design to generate the overall geometry of the roof. The wind blows across the building is studied and predicted loads on the roof before construction. It is then redefined by the engineers This is an evolution in design and construction industries as designers and engineers work together to transfer the abstract idea of architect to a complex form of construction.[FIGURE 14] This is similar to how Frank Gehry transfer his sketch to Guggenheim Museum in Bilbao [10].

Wayne Brown, Introduction to Algorithmic Thinking

â&#x20AC;&#x153;When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architectureâ&#x20AC;? - Brady Peters.

A.2. COMPOSITION/ GENERATION

As designers, we are moving forward the future by learning from experience and taking on new challenges. As humans, we want to explain and manage everything surrounding us. This is how we create out dynamic world as we keep changing everyday[1] by exploding new ideas, new freeform and new architecture style. In traditional architecture, we used drawing on paper to create model and building. Nowadays, computation is a digital method to explore ideas and designs but it can only become a true design method for architects when digital modelling comes to reality. This is why we need to understand and control over the computation so we can produce parametric models that we want in reality. This process of fabrication involve the algorithmic thinking as well as scripting or coding. An example of a true design tool is grasshopper and rhino as they allow freedom for designer to explore the design, that can generate the

final geometry with additional information such as analyse structural and functional, visualise the space and create fabrication data for physical models, as long as we can understand the software and input the right data for the software to generate.

FIGURE 15

PART A. CONCEPTUALISATION: A.2. COMPOSITION/GENERATION

The project Foster and Partners, Khan Shatyr Entertainment Centre, Astana, Kazakhstan, 2010 [2], highlights this idea of shifting from composition to generation as it is developed from the original intention which is a cable-net structure. Algorithmic thinking is then used to generate many parametric design options for this project. As the result, only one design is possible to build. This explores the concept that it is easy for us to generate many design concepts quickly using computation but the translation of the design to reality need to be developed further. Computation is a way we can generate our idea quickly but when it comes to reality we need more practical works. Similar, Smithsonian Institution, Washington DC, 2007 [3] by Foster and Partners also explores the different between fabrication and computation. After finishing visualise the form of the structure, they need to create another fabrication data for the physical model.

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PART A. CONCEPTUALISATION: A.2. COMPOSITION/GENERATION

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PART A. CONCEPTUALISATION: A.2. COMPOSITION/GENERATION

FIGURE 21 On the other hand, the Council House 2 (CH2) [4] office building in the city of Melbourne is another example of shifting from composition to generation. The initial intention of the design is sustainability so many different systems as well as features of the building are analysed and developed to achieve sustainability such as diagrams of wind ventilation, water tower and so on [FIGURE 18-20]. As the result, the cladding of the building is designed for wind ventilation at night time to keep the building cool and save more energy. This explores the idea that shifting from composition to generation is the translation of design intention to reality. The composition is the visual images of this project on diagram and the final form of the building is generated from the diagram ideas.

A.3. CONCLUSION Modern architecture is quite different to traditional architecture as we start to move away from the drawing on paper and approach new method of digital design. Algorithm (Grasshopper and Rhino) is introduced as parts of the parametric design process as it is the language we use to communicate with computer to generate new and complex geometries faster and easier. By using the softwares, forms of our design can also be re-defined many times before the construction of the final form. This creates a whole new world for us as designer because we can pre-figure the design before construction. It can help us develop a sustainable future as we can change the geometries of our designs to achieve sustainablility. Furthermore, development of these softwares allow the fabrication process to become easier and faster as we can use the algorithm to generate all the notching for joints between planes and objects.

PART A. CONCEPTUALISATION

A.4 LEARNING OUTCOME From Part A of this project, I learned the concept behind software such as Grasshopper and Rhino. They are design tools which can help us develop, generate, re-define our initial ideas to create new and complex freeform. Also, as designer of future, we should consider designs we build as we may destroy parts of the nature surrounding us. It is our job to maintain the nature environment at the existing site for the next part of the project. In the next part of this project, we need to use these design tools to help us analysing, generating and developing designs that adapt to the ecological world of the site.

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PART A. CONCEPTUALISATION

A.5 APPENDIX ALGORITHMIC SKETCHES 1. Cylinders are applied on a surface of a lofting surface with a centre point on the surface, so as the distance of the cylinder is nearer to the point, the smaller its radius will become. This create variation for the pattern of cylinder on the surface. 2. Cylinders are applied on a surface of a lofting surface with a centre point on the surface 3. A pattern of hexagons creates using morphbox, this allows us to control how a pattern can be applied onto a surface. 4. Pop3d. 5. Octree. 6.Intersecting cones - Bollinger & Grohman Reverse Engineer.

I choose to present these sketches in my journal because I think they can represent my knowledge in Grasshopper as apart from the tutorials online, I do some further research on grasshopper and explore some new form shapes such as the first 3 sketches. These algorithmic sketches also demonstrate that grasshopper and rhino are programs which allow designer to create new complex form of design. The forms can be varied by a few activities such as changing the curves or the surfaces of the input data. The program is a way we can communicate with the computer and manage the computation to produce our desired results. Furthermore, I add the final geometry to highlight an amazing knowledge I learn from the tutorials and grasshopper as I understand how a complex project is constructed I think this is why grasshopper is so powerful in term of parametric design because it allows freedom for user to explore their design and to solve for possible solution for fabrication of a complex geometry.

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Bibliography DESIGN FUTURING

1. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 34 2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 3. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 8 4. Kriscenski, Ali. (2015) A Swirling Green Roof Tops Gorgeous Nanyang Technical University In Singapore (Inhabitat. Com) http://inhabitat.com/amazing-green-roof-art-school-in-singapore/. 5. Dioffa, Jon. (2015) GREENPIX Zero Energy Media Wall Lights Up Beijing (Inhabitat.Com) http://inhabitat.com/ greenpix-zero-energy-media-wall-lights-up-beijing/. 6. Kriscenski, Ali. (2015) A Swirling Green Roof Tops Gorgeous Nanyang Technical University In Singapore (Inhabitat. Com) http://inhabitat.com/amazing-green-roof-art-school-in-singapore/. 7. Dr. Stanislav Roudavski (2015) AIR 2015 S1 L01 Futuring. https://app.lms.unimelb.edu.au/bbcswebdav/pid-4736612dt-content-rid-16576776_2/xid-16576776_2?target=blank. 8. Enewsletter.ntu.edu.sg, (2015) Platinum Award For Commitment Towards Sustainability http://enewsletter.ntu.edu. sg/(X(1)S(fg0ccgtt1rt0vjhew32iua5s))/classact/May11/Pages/cn3.aspx?AspxAutoDetectCookieSupport=1. 9. Dioffa, Jon. (2015) GREENPIX Zero Energy Media Wall Lights Up Beijing (Inhabitat.Com) http://inhabitat.com/ greenpix-zero-energy-media-wall-lights-up-beijing/.

A.1. DESIGN COMPUTATION

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 2. Dr. Stanislav Roudavski (2015) AIR 2015 L2 Design Computation. https://app.lms.unimelb.edu.au/webapps/ blackboard/execute/content/file?cmd=view&content_id=_4746966_1&course_id=_281269_1 3. Mode Lab, Modelab Introductory Video, 2015 <http://lab.modecollective.nu/lab/introduction-to-grasshopper/> [accessed 19 March 2015] 4. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 6. ArchDaily, ‘Aspen Art Museum / Shigeru Ban Architects’, 2014 <http://www.archdaily.com/546446/aspen-artmuseum-shigeru-ban-architects/> [accessed 19 March 2015] 7. Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publishers), pp. 208-212 8. Zaha-hadid.com, ‘New National Stadium - Architecture - Zaha Hadid Architects’, 2015 <http://www.zaha-hadid. com/architecture/new-national-stadium/> [accessed 19 March 2015] 9. ArchDaily, ‘Busan Cinema Center / Coop Himmelb(L)Au’, 2013 <http://www.archdaily.com/347512/busan-cinemacenter-coop-himmelblau/> [accessed 19 March 2015] 10. Dr. Stanislav Roudavski (2015) AIR 2015 L2 Design Computation. https://app.lms.unimelb.edu.au/webapps/ blackboard/execute/content/file?cmd=view&content_id=_4746966_1&course_id=_281269_1

A.2. COMPOSITION/GENERATION

1. Lecture (2015) AIR 2015 L3 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 4. ArchDaily, ‘CH2 Melbourne City Council House 2 / Designinc’, 2013 <http://www.archdaily.com/395131/ch2melbourne-city-council-house-2-designinc/> [accessed 19 March 2015]

PART A. CONCEPTUALISATION

Image Credits Figure 1-3 (Nanyang Technical University in Singapore: http://inhabitat.com/amazing-green-roof-art-school-insingapore/, 10 Mar 2015) Figure 4-5 (GREENPIX Zero Energy Media Wall Lights up Beijing: http://inhabitat.com/greenpix-zero-energy-mediawall-lights-up-beijing/, 10 Mar 2015) Figure 6 (Design Process: Dr. Stanislav Roudavski (2015) AIR 2015 L2 Design Computation. https://app.lms.unimelb. edu.au/webapps/blackboard/execute/content/file?cmd=view&content_id=_4746966_1&course_id=_281269_1, 15 Mar 2015) Figure 7-11 (Aspen Art Museum by Shigeru Ban Architects: http://www.archdaily.com/546446/aspen-art-museumshigeru-ban-architects/, 15 Mar 2015) Figure 12 (New National Stadium by Zaha Hadid Architects: http://www.zaha-hadid.com/architecture/new-nationalstadium/, 15 Mar 2015) Figure 13-14 (Busan Cinema Center by Coop Himmelb(l)au:http://www.archdaily.com/347512/busan-cinema-centercoop-himmelblau/, 15 Mar 2015) Figure 15-16 (khan shatyr entertainment centre: http://www.fosterandpartners.com/projects/khan-shatyrentertainment-centre/, 19 Mar 2015) Figure 17 (Smithsonian Institution: http://www.fosterandpartners.com/media/Projects/1276/img0.jpg, 19 Mar 2015) Figure 18-21 (CH2 Melbourne City Council House 2 / DesignInc: http://www.archdaily.com/395131/ch2-melbournecity-council-house-2-designinc/, 19 Mar 2015)

PART B: CRITERIA DESIGN During Criteria Design, we learned how develop a particular technique or tectonic system using computational methods through case-study analysis, parametric modelling and physical prototypes.

PART B: CRITERIA DESIGN

B.1. RESEARCH FIELD Biomimicry

What is biomimicry? A nature-imitating search for new material effects, based on biological precedents – often referred to as biomimicry or biomimetics [1]. Biomimicry is a new discipline which refers to projects and researches about the functionality and performances of nature world. People involve in this discipline are biomimics [2]. They do not use the organisms in the design and innovation but only using the blueprints or the recipes from the organisms for innovation of new materials and designs. These create algorithm that can be put into a software program that analysis a minimum amount of material, as an organism must, for the maximum amount of strength of a parametric mode[3]. Therefore, biomimicry is an incredibly powerful way to innovate sustainable with new material and structure for designs which solves human problems.

1. Branko Kolarevic and Kevin R Klinger, Manufacturing Material Effects (New York: Routledge, 2008), p10 2. TED Talks, Biomimicry In Action, 2015 <https:// www.ted.com/talks/janine_benyus_biomimicry_in_ action?embed=true> [accessed 13 April 2015]. 3. Biomimicry Institute, ‘What Is Biomimicry? – Biomimicry Institute’, 2015 <http://biomimicry.org/ what-is-biomimicry/> [accessed 13 April 2015].

Sustainability What biomimicry can deliver?

“If we could learn to make things and do things the way nature does, we could achieve factor 10, factor 100, maybe even factor 1,000 savings in resource and energy use.”[4] 4. TED Talks, Using Nature’s Genius In Architecture, 2015 <https://www.ted.com/talks/michael_pawlyn_using_ nature_s_genius_in_architecture?embed=true> [accessed 10 April 2015].

PART B: CRITERIA DESIGN Three ẽexamples solutions for sustainable we can develop from biomimicry. 1. Radical increases in resource efficiency – delivering the same function, but with a fraction of the resource input. 2. Shifting from a linear, wasteful, polluting way of using resources to a closed-loop model – resources used and come back to where it was before. 3. Changing from a fossil fuel economy to a solar economy.

The Eden Project is visitor attraction destination in Cornwall, UK, which contains massive Biomes housing of the largest rainforest and stunning plants for exhibitions.[5]

New technology and materials developed and inspired from biomimicry

high-strength polymer. Three layers put together and weld around the edge of the hexagons and pentagons, and then inflate. These are new technology and materials developed and inspired from biomimicry. They also open a gateway to sustainable for human future.

After, studying pollen grains and radiolaria and carbon moleculeshelped (biomimicry), the most efficient structural solution is using hexagons and pentagons. And to maximize the size of those shapes, a material called ETFE is explored. Itâ&#x20AC;&#x2122;s a

The Eden Project is a good example of how ideas from

PART B: CRITERIA DESIGN

Eden Project

biology can lead to radical increases in resource efficiency.

extra heat in winter. And with less overall weight in the superstructure, there were big savings in the foundations. And at the end, the weight of the superstructure was actually less than the weight of the air inside the building. Therefore, the Eden Project is a good example of how ideas from biology can lead to radical increases in resource efficiency that mentioned before.

The materials can make in units of roughly seven times the size of glass, and they are only one percent of the weight of double-glazing. So that is a factor-100 saving. And the project constructs with less steel. So it can gain more sunlight into the space, which reduces cost for

5. TED Talks, Using Natureâ&#x20AC;&#x2122;s Genius In Architecture, 2015 <https://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_ in_architecture?embed=true> [accessed 10 April 2015].

B.2. CASE STUDY 0.1

PART B: CRITERIA DESIGN

Spanish Pavilion 2005 World Exposition Aichi Japan Foreign Office Architects (FOA) 2005

The project is inspired by honey comb structure [6]. The architects study how honey build an extraordinary structure to store their food. And they explore an algorithm that allows them to figure out and control the sides of the hexagons as well as fabrication process. As the result, the external walls express series of irregular earthenware hexagons of mixed colors. [7] These walls are an outer skin, separated from the inner pavilion which provides interesting lighting effect around the pavilion. This highlights the interaction between internal and external space. 6. Digiitalarchfab.com, 2015 <http://digiitalarchfab.com/portal/ wp-content/uploads/2012/01/Spanish-Pavilion> [accessed 9 April 2015]. 7. Galinsky.com, â&#x20AC;&#x2DC;Spanish Pavilion 2005 Expo Aichi Japan By Foreign Office Architectsâ&#x20AC;&#x2122;, 2015 <http://www.galinsky.com/buildings/ spainaichi/> [accessed 14 April 2015].

Changing the offset sides of the hexagons.

PART B: CRITERIA DESIGN

Changing the images that creates the patterns of the offset hexagon. The patterns can be varied as many as possible.

Changing the sides of the hexagon to create many unsual shapes and new patterns. The definitionâ&#x20AC;&#x2122;s hexagons are constructed with individual lines, this allows control over the shapes of the hexagon rather than a fix shape.

Matrix of iterations From the definition of the Spanish Pavilion, I try to explore the possibilities of the definition, change existing parameters, input geometries and component options. I also try to produce unexpected outcomes, investigate and push the capabilities of the definition to develop new forms and structure.

PART B: CRITERIA DESIGN - Matrix of Iterrations

A component ‘‘Graph-Mapping’’ added into the offset component to generate variation in the offset sizes. Different graphs can create different effect to the offset sizes.

Changing the length of hexagon’s sides as well as graph mapping the size of it.

PART B: CRITERIA DESIGN - Matrix of Iterrations Components of force spin and point cháşŁarges are applied to the hexagons and then circles with lines are drawn from the charges to create a floating and twisting of lines as well as textture. I tried to create a different design from the hexagon so that is why I try to apply this components onto the hexagons.

The component of Force Spin is substracted from the definition to create a different effect and texture. Different hexagon sides are presents in this definition.

1000 Forces

500 Forces

PART B: CRITERIA DESIGN - Matrix of Iterrations The component of Voronoi was applied onto the pattern of hexagon to create a completely different pattern to the original shapes. The pattern can be varied by the sides of the hexagons.

The component of Kangarooâ&#x20AC;&#x2122;s force Ć°is applied on the hexagon grid to create a three-dimension form. This also suggests how the grid can be structure in real-life.

4 of the most successful outcomes in thr

PART B: CRITERIA DESIGN

ree-dimensional

[1]

The pattern is created by graph mapping a series of polygons. This creates a unique texture which totally different from the original form of the algorithm. They both base on the same concept but by a small part in the algorithm can achieve a whole new form. Therefore, it is powerful to be shown as a successful outcomes than others. The pattern is then extruded to become a three-dimensional. As an architecture application it can be a second skin of a pavilion as same as

original project (Spanish Pavilion). However, the effect of lighting reach the space is totally different from the Spanish Pavilion. This is why the pattern is extruded as the final version of this outcomes. The pattern itself cannot create the lighting effect if it is not extruded. The space can created a pavilion, a place for local residents and visitors to experience.

PART B: CRITERIA DESIGN

[2] In this algorithm, the parametric digital model is created by changing the sides of polygons and graphing the offset inside them. This explores an interesting form for the pattern which is different from the original algorithm. Similar to the project above, this is a success outcome than others because its concept base on the original project but a small change can generate a new form. Also, the pattern merge and flow through the pattern create a perfect lighting effect when it works as a second skin of a pavilion as well as many others Possible Activities can be provide at the space: • Observing • Learning • Contemplating • Exercising • Walking • Running • Cycling • Commuting • Meeting • Cleaning • Planting • Feeding • Art-making • Music-making • Playing

PART B: CRITERIA DESIGN

[3]

The patterns of the field was created by polygons and spread out on a surface. A dome is created and the pattern is projected onto the surface of the dome to create a pavilion form. This outcome is more success than others outcome because it is an innovation form which derived from a completely different form (polygons). The curves surrounds the dome wraps the effect inside the dome but also work as an outer skin which allows interaction between users. The pavilion is not just a space for local residents and visitors but also animal surround the area. In order to merge the project with the surrounding landscape it can be make out of trees branches and timbers which are environmentally friendly. Also the form of this dome is unique and beautiful in three-dimensional form. The pavilion can also be used for many others activities and performances

PART B: CRITERIA DESIGN

[4] The patterns of the field was elevated off the ground and pipes are applied to the vector lines. This parametric model explore a space which can be occupied by people as well as animals. It provides a shelter for the local area. The pipes can also be pin onto the ground and become a structure for trees to ground surround and merge with it. Overtime, this design can be part of the nature environment at the site. This is environmentally friendly option for a pavilion at the site. The parametric model is more success than others outcomes because it can be fabricated easily by pipes and lightweight materials but an interesting form can still be presented at the site. Similar to others project above, the pavilion can provide not only just a space for shelter but many others possible activies (mentioned on page 53).

B. 3. CASE STUDY 2.0

PART B: CRITERIA DESIGN

Esplanade Complex Esplanade is by Marina Bay in central of Singapore. It was built over a large scale to reflects the harmonic balance between man and nature. The structure of internal and external express the building as the world’s top performing arts centre , thus bringing Singapore to the forefront of the international arts scene. [8]

The concept behind this project is biomimicry because the concert hall and the theatre are designed to resemble the appearance of a durian and are constructed of spherical concrete roofs and glass panels supported by specially designed framing [9]. The durian-shaped and structure is studied to create sun shading have elaborately designed fins angled in various directions to catch the suns rays as it moves across the sky. The linking garters supported by V-shaped columns are three-dimensional and have been constructed to eliminate electrical distortion, a key factor in providing an interference-free environment for computers. 8. . 1st edn (Singapore: ASIAN BUILDING & CONSTRUCTION 10/6 2001, 2015), pp. 34-37 <http://esplanadesing.com/Downloads/ Media%20and%20Publication%20PDFs/ESP%20011000%20ABC%20vol%2010-6%202001.pdf> [accessed 14 April 2015]. 9. Designsingapore.org, ‘President*S Design Award Singapore 2015 - Esplanade - Theatres On The Bay’, 2015 <https://www. designsingapore.org/PDA_PUBLIC/gallery.aspx?sid=108> [accessed 8 April 2015].

[1]

[2] the original project, but the direction of the fins are hard to control compare to the original project as they all flow to the same direction. However, the shapes of the fins can be control easily but changing how the shapes are drawn using the points. Also, the algorithm can provide many vector lines and points which can be used to create many more possible new shapes and forms. In the next part of this case study, I will develop many possible ways to change the algorithm so it become a parametric digital model that is completely different from original form but it still maintain the original concept such as, fins, triangles, repeat pattern on a surface and so on.

This is a series of steps which I go through to recreate the building. Firstly, the form was create using surface tool in rhino. Secondly, a series of point explore from the surface using Lunchbox (a plug in of Grasshopper). Thirdly, normal points from the surface are explore above the surface. In math, these normal points can be worked out by finding the vectors in space. Grasshopper shows itself as a powerful program when combine with Rhino as it can work out vectors in spaces using points. Finally, these two layer of points provide points which can be connect to each others and create the durian-shapesâ&#x20AC;&#x2122; fins on the surface. The fins of the form are similar to

PART B: CRITERIA DESIGN

REVERSE-ENGINEER

[3]

[4]

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[6] 61

Surfaces and Meshes

Patterns are applied

PART B: CRITERIA DESIGN

B.4. TECHNIQUE: DEVELOPMENT Patterns are applied

Surfaces and Meshes

Patterns are applied

PART B: CRITERIA DESIGN Patterns are applied

Surfaces and Meshes

Different surfaces and meshes are used to explore the shapes of fins patterns. I want to explore these shapes to analysis the bending and folding edges of the parametric.

Numbers of pattern in vertical and horizontal direction are changed. Length of the pattern is also changed to different length. This exploration shows how we can vary the form of the design in many different ways

Frequency of the pattern is changed, this creates the fins with different length

The structure is piped

Weaverbird is a plug-in in Grasshopper which generate a web from the curves of framing and analysis the distance of the frames to the offset.

The thickness of the form can also be changed to create unique forms.

The smoothness of the structure can be changed for variation of forms.

PART B: CRITERIA DESIGN The pattern is explored into frames. From here a series of shapes can be explore from the framing.

create a whole new form for the structure, the ofset of the frame inside can be changed by

A co TOP BOTTOM this p geom mod is fu expre a com

The a TOP BOTTOM fins

The n TOP BOTTOM which mode contr

PART B: CRITERIA DESIGN

ode in weaverbird plug-in called stellation is used to develop parametric model. The code explore a completely new metry but still base on the same concept of the original del which contains fins pattern on a surface. The framing urther generated into a new structure, like a wave. This esses the idea how parametric modelling can develop to mplex structure from just a simple concept.

algorithm also allow us to control over the lengths of the

number of the fins can also be reduced and increases, h are all controlled by the users. This is why parametric elling tools are so powerful as it gives the users full rol over it, as they can change it however they want.

The TOP BOTTOM whic A po poin poin patt

The TOP BOTTOM poin

The TOP BOTTOM frequ

PART B: CRITERIA DESIGN

e code stellation can create váşŁariation in the fins pattern ch is more powerful than the reverse engineer process. oint can be set anywhere in the space and a series of nts are generate to calculate the distance between the nts and the lines. Length of fins can be variated in a wave tern rather than just a flats series of number.

pattern of fins length can be variated using multiple nts rather than just one point.

second way to variate the fins length is changing the uency of the wave through the mesh.

Apa TOP BOTTOM can expl to th poin and form

Mult TOP BOTTOM

The TOP BOTTOM anot crea the f expl com

PART B: CRITERIA DESIGN`

art from using points to variate the pattern of fins, We also use a lines run through the surface. Points can be lored from the curve and the calculation from the lines he fins can be variated. This is more successful than the nts because it can provide a huge impact onto the mesh clearly highlight the variation compare to the original m.

tiple lines can also be used rather than just one line.

form of the framing can also be further developed using ther code in weaverbird 動which is attractor offset. This ates a wave pattern within the flowing structure base on framing concept. This variation explore a possible way to lore the original concept into a parametric model which is mpletely different.

A po TOP BOTTOM patt

Mult TOP BOTTOM patte

A lin TOP BOTTOM

PART B: CRITERIA DESIGN

oint is used as an attractor can create variation for the tern which similar to the stellation.

tiple points are used to create a different effect on the ern.

ne is used to create a different effect on the pattern.

PART B: CRITERIA DESIGN

Successful Iterations This is a successful iteration as it explores the structure of the fins on a bending and curve surface. This exploration is useful in the next section of this chapter as it shows how a structure can be built from pipes. In architecture context, This can become second skin of a building which allows interaction between internal and external space. For environmentally friendly purposes, this can be made out of recycle materials such as plastic.

[1] 79

PART B: CRITERIA DESIGN

Successful Iterations This is a successful iteration compare to others iteration because it creates a movement of wave in the pattern by changing the frequency. This create a wavy effect on the external surface for the form. This is how it can be more interesting than others because it explores the same concept in a different way than others iterations. In term of architecture, this space can provide an interesing lighting effect when light pass through the wavy fins.

[2] 81

PART B: CRITERIA DESIGN

Successful Iterations After exploring the framing of the fins structure, lines of framing are smoothened to create a series of space. This iteration is successful as it can explore a space like a pavilion which the user can use in many different way (see page 53). In architecture term, this pavilion can be constructed using framing and covered by another material to create a smooth surface. I realised that by exploring the framing structure as a basic of my exploration I can learn from it can further explore on it to generate more complex structure. This is the power of parametric tools.

The space allow internal and external interactions.

[3] 83

PART B: CRITERIA DESIGN

Successful Iterations Similar to the previous iteration, this iteration is successful as it is developed into a complex form using the simple framing structure. The fins pattern are now turned into wavy fins pattern which can be controlled by parametric tools, For example the length of the fins can be varies in many different ways, which is useful for final model exploration. The structure carries the main concept of the fins but also it can create the effect of light and dark (see picture below). For further exploration the fins can allow light into the space.

[4] 85

PART B: CRITERIA DESIGN

Successful Iterations This iteration is successful as it explores a completely different form compare to others iterations. It moved completely away from original form and structure. The twisting of the form is an interesting subject to fabrication and exploration. In the next state of this project, fabrication this form can explore the new way to use materials and effects for the final model.

[5] 87

PART B: CRITERIA DESIGN

B.5. TECHIQUE: PROTOTYPES Wood sticks and blue-tack are used to examina the structure of the sphere with pipes. The edges of the stick are connected together which provides flexiblility for the structure as it can bend to form a curve. This prototype help we figure out the basic structure of the form for further development.

[1]

Name of chapter

B.5. TECHIQUE: PROTOTYPES This prototype is an exploration of how the structure of pyramid can be connect together if it is a solid surface. The tabs also provide the flexiblility for the solids to bend.

[2] 91

Name of chapter

B.5. TECHIQUE: PROTOTYPES This prototype is a development from the framing prototypes. The framing is taken into the next level as it makes a structure which can be cover by another material to create a smooth surface with unique form. This achieve the effect of interaction between internal and external spaces which can be built as a pavilion.

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Name of chapter

B.5. TECHNIQUE: PROTOTYPES This prototype is testing the twisting compacity of materal and which effect it can create from the original parametric model. The prototype does not turn out as successful as expected because the effect is not highlighted. However, the form of the parametric model is still unique. Sometimes, parametric model is not possible to make in real life, because of the structure as well as the material

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The Merri Creek flows about 60 km from the Great Dividing Range through Melbourneâ&#x20AC;&#x2122;s northern suburbs to the Yarra River.

PART B: CRITERIA DESIGN

B.6 TECHNIQUE: PROPOSAL “The Merri Creek and its immediate surrounds are host to some of the most threatened ecosystems in Australia. The Creek has a unique role to play in the preservation of threatened flora and fauna and the maintenance of vegetation communities that in other places have almost been totally destroyed.” [10] 10. Mcmc.org.au, ‘About Merri Creek’, 2015 <http://www.mcmc.org.au/index.php?option=com_content&vi ew=article&id=36&Itemid=188> [accessed 9 April 2015].

The goal of this project is maintain the nature environment at the site as well as establish a stronger connection between users and existing nature environment. In this project I want to explore a form of a pavilion on the site which can allow many possible activies at the site. My aim is to establish a innovative, surprising and beautiful three-dimensional form by enviromentally friendly materials.

existing landscape Merri creek trail merri creek contour of choosen site

After the site visit to Merri Creek I realised visitor just run or cycle pass the trail beside Merri Creek without stopping or looking around the landscape. The site show a lack relationship between human and nature environment which is also a point in the brief for the site. My aim in this project is establishing a better relationship between users of the site and surrounding landscape. Everyday, people always try to escape from the busy city and try to slow their life down. In this project, I want to explore a pavilion along the pathway to capture the users attention and encourage them to slow down their walking speed as well as cycling to enjoy the surrounding landcape through a complex form and geometry of parametric digital model.

PART B: CRITERIA DESIGN

SITE ANALYSIS

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FORM FINDING AND FURTHER DEVELOPMENT FORM FINDING PROCESS: DURIAN STRUCTURE -> FRAMING -> SMOOTH THE FRAME -> A PAVILION PROJECT OVER THE PATHWAY -> LET USERS INTERACT WITH THE SITE -> CAPTURE ATTENTION OF USER TO SURROUNDING ENVIRONMENT BY THE PATHWAY .

After exploring the durian structure from case 2 study, I learned the structure framing of the object and I also explored series of pavilion structure using the concept of the durian. From those exploration, the most successful exploration is the pavilion which was smoothened by weaverbird. The form clearly explore then idea of framing but it is expressed into a new different way by parametric. The form is no longer sharp like the original form but it is smoothened. In the next state of this project, I want to use the same concept of the durian to further explore on the form of the pavilion. I will try to make the form become more complex and beautiful using parametric too as at the moment the form is quite simple.

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MATERIAL AND EFFECT INSPIRATION

INNOVATION: MOLD TREES IN A PARTICULAR WAY.

• • • • • • • •

After research on how trees can be molded into different shapes and become a sculpture in art. I found this idea is interesting to explore in my project as it is a way I can establish a relationship between the site and user. Therefore, I want to create a tree pavilion which can create a similar effect to the image. The pavilion can be turn into a series of tunnel with interesting lighting effect. This evolve a calm feeling for users while they are walking pass the pavilion. At the same time, this pavilion can be used for many other activities such as: • Observing • Learning • Contemplating • Exercising • Walking • Running • Cycling

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Commuting Meeting Cleaning Planting Feeding Art-making Music-making Playing

PART B: CRITERIA DESIGN

B.7. LEARNING OBJECTIVES AND OUTCOMES

From part B I learned a lot more from parametric tools and how a modern project can use the tool to design and structure a building. In my first and second year of Architecture, I always generate my idea using hand sketches and drawing. Sometimes I will do up to 50 drawings before I can establish a concept of final design, while in Studio Air I can generate my design outcomes faster and quicker by just explore the design using parametric tool. This establish the future of architecture as we no longer need to design on paper and endless time to draw by hand. Parametric is a new way to generate ideas.

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B.8. APPENDIX ALGORITHMIC SKETCHES

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EXPLORATION I played with the Kangaroo plug-in and developed a more successful result by changing the form of the voussoir and more UForce was applied to pull up the whole structure and create the true form of voussoir. This help me learn more about this coding and how to apply onto Case 1 study.

The definition creates this form is really interesting and powerful as it can generate a new form of paramatric model from a surface (see picture below)

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The shapes of these patterns are polygon and I can work as a model display shelf inside gallery as models can be placed into the tunnels of polygon

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Patterning List & ARCHITECTURE APPLICATION A pattern list algorithm which I created from a list of point that was extracted from a picture. However, I cropped and only used a part of the picture to create the pattern. Finally, I baked the patterned and extruded them in many different ways.

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The image and algorithm are changed to create new pattern in the definition.

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The shapes of these patterns are háş˝exagon. By changing the pattern list algorithm into hexagon I can create a new pattern list

This can be a table which is inserted into the floor and model can be displayed on top. Lighting can be installed at the bottom which create interesting lighting effect on the model

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Strings attacted to the ceiling.

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By changing the shapes I can create a new model shelf display design. The cylinder tunnels can be hanged from the roof and models can be displayed inside the tunnels.

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Fabrication The joint detailing is designed between adjacent elements to create a shelf for model displaying, at the end of semester exhibition in the Ceres Gallery. The open cylinders are attached to strings at each end which connect to the ceiling. This creates flexible for the cylinders as it can be attached anywhere in the gallery space. Also, the cylinders merged into each others which creates many interesting patterns. In additional, lights can be installed along the walls that creates lighting effect through the tunnels.

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EXPLORATION ON FEILD Series of exploration on field help me in my exploration of iterations. I also explore on how to convert the pipes form of fields into 3D forms.

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EXPLORATION ON GRAPH MAPPING I EXPLORE ON A SERIES OF GRAPH MAPPING WHICH HELPS ME EXPLORE THE CASE 1 AND 2 FURTHER AWAY FROM THE ORIGINAL IDEAS.

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Bibliography 1st edn (Singapore: ASIAN BUILDING & CONSTRUCTION 10/6 2001, 2015), pp. 34-37 <http://esplanadesing.com/Downloads/ Media%20and%20Publ ication%20PDFs/ESP%20011000%20 ABC%20vol%2010-6%202001.pdf> [accessed 14 April 2015] Biomimicry Institute, ‘What Is Biomimicry? – Biomimicry Institute’, 2015 <http://biomimicry.org/what-is-biomimicry/> [accessed 13 April 2015] Designsingapore.org, ‘President*S Design Award Singapore 2015 - Esplanade - Theatres On The Bay’, 2015 <https://www. designsingapore.org/PDA_PUBLIC/gallery.aspx?sid=108> [accessed 8 April 2015] Digiitalarchfab.com, 2015 <http://digiitalarchfab.com/portal/ wp-content/uploads/2012/01/Spanish-Pavilion> [accessed 9 April 2015] Galinsky.com, ‘Spanish Pavilion 2005 Expo Aichi Japan By Foreign Office Architects’, 2015 <http://www.galinsky.com/ buildings/spainaichi/> [accessed 14 April 2015] Kolarevic, Branko, and Kevin R Klinger, Manufacturing Material Effects (New York: Routledge, 2008) Mcmc.org.au, ‘About Merri Creek’, 2015 <http://www.mcmc. org.au/index.php?option=com_content&view=article&id=36&Ite mid=188> [accessed 9 April 2015] TED Talks, Biomimicry In Action, 2015 <https://www.ted. com/talks/janine_benyus_biomimicry_in_action?embed=true> [accessed 13 April 2015] TED Talks, Using Nature’s Genius In Architecture, 2015 <https:// www.ted.com/talks/michael_pawlyn_using_nature_s_genius_ in_architecture?embed=true> [accessed 10 April 2015]

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PART C: DETAILED DESIGN THIS PART FOCUSES ON THE DEVELOPMENT OF A REALISTIC AND YET INNOVATIVE DESIGN PROPOSAL. THE OUTCOME OF THIS STAGE IS A FULLY DOCUMENTED AND CONVINCINGLY ARGUED DESIGN THAT IS CRITICALLY POSITIONED IN CONTEMPORARY ARCHITECTURAL DISCOURSE.

PART C: DETAILED DESIGN

C.1. DESIGN CONCEPT A design of a pavilion or a form which establish a stronger connection between human and nature environment on the site, where visitors interact with the surrounding environment and acknowledge it.

of trees when the sunlight pass through a layer of trees (growth along the structure of the fields). Also, the form of the project can merged into the landscape overtime and be part of the surrounding environment if trees and plants are allowed to grow along the fields.

After site analysis, a problem was found on the site that the visitors just walk pass the site without enjoying the beautiful nature environment. Therefore, this project will focus on a design of a pavilion or a tunnel which establishes a stronger connection between human and nature environment on the site, where visitors interact with the surrounding environment and acknowledge it. From development of Part B, Field technique in Grasshopper is best to represent the trees and branches in biomimicry as well as tessellation. Therefore, this is the main technique used to fully develop this project. This technique can be developed using lines and points so series of points and lines will be extracted from the analysis of the site. The main effect of this project is catching usersâ&#x20AC;&#x2122; attention through its form as well as lighting effect from beautiful shapes

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The chosen area was analysis to highlight where the green and non-green area on the site.

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SITE ANALYSIS

MAIN TRAIL

In order to establish a stronger relationship between human and surrounding nature environment at the site, it is important to analysis carefully the possible stakeholders of the site and their activities to catch their attention.

Through the analysis, data shows that the site is a large green area with trees and the Merri Creek run across. The environment of the site is combination of three large park, Phillips Reserve, Merri Park, Summer Park. Most of people visit the site are from the local area. However, not many people access the parks within the area, most people just run or cycling through the main trail. I asked some people on the site to see how they feel about the site, a few people said because there is a power station which block the view and there is nothing special on the site for them to stop and pay attention to surrounding landscape. Therefore, a pavilion represents the landscape should be built on site to evoke visitorsâ&#x20AC;&#x2122; curiosity to slow down and pay attention to the surrounding landscape.

MAIN USERS

MAIN PARKS

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FOCUSING ON FIELD PATTERNS FIELD PATTERN CAN EXPLORE A BEAUTIFUL FORM WHICH ABSTRACTS VISITORS’ ATTENTION WHILE ON THE SITE. ALSO, THE FIELD PATTERN REPRESENT THE ROOTS OF TREES IT WILL BE INTALL ON THE SITE AND TREES ARE ALLOWED TO GROW ALONG IT, OVERTIME THE PAVILION WILL BECOME PART OF THE SITE.

In BIOTHING-FIELD explored by transcoding 3 different algorithms. ElectroMagnetic Field developed through Biothing’s custom written plug-in for Rhino was initially distributed in order to develop structural trajectories for the roof condition. Resonating pattern was imprinted into the ground creating emitters for the second algorithmic logic _ radial wave interference pattern that formed global geography of the field. Finally, class 4 Cellular Automata was used to re-process wave data by imprinting micro-articulation of the ground. Zooming in and out of this field revels drifts in the character of the pattern. This effect is accelerated in the behavior of the CA pattern which drifts between distinct characters of rigid geometrical states and more organic states.

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MATERIAL AND EFFECT INSPIRATION

INNOVATION: MOLD TREES IN A PARTICULAR WAY.

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• • • • • • • •

Commuting Meeting Cleaning Planting Feeding Art-making Music-making Playing

PART C: DETAILED DESIGN

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PART C: DETAILED DESIGN

DIAGRAM ILLUSTRATE TECHNIQUE

FIELD PATTERN WAS CHOSEN BECAUSE IT CAN GENERATE A BEAUTIFUL FORM WHICH ABSTRACTS VISITORS’ ATTENTION

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PART C: DETAILED DESIGN

FIELD PATTERNS DEVELOPMENT In order to re-image the relationship between human and the nature environment, I tried to derive the field pattern from lines of the housing around this area. However, it is complex and also it does not develop enough connection between the site and the visitor. It cannot establish the relationship between human and nature environment.

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SPIN CHARGES

NORMAL CHARGES

Both form of field patterns are generated as the field pattern need grid to interlock with each other and it can be built in real life. Also the lines can be connected to each other at the end of the lines. If only one pattern is used there is nothing to hold them together and it will flow in space without any supporting.

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RETHINK - FINAL FIELD PATTERN After rethinking about regenerate a more simple form for the final pavilion form, another analysis is explored to show how many way visitor can access the site, as the field can create many possible ways for user to enter each of the field pattern. The main trail is where people interact most on the site. Therefore, I want to use this as a base to generate field over the top, as I want to generate a BEAUTIFUL FORM where it can ABSTRACTS most of VISITORSâ&#x20AC;&#x2122; ATTENTION. The analysis showed 11 ways visitors can access the site so the field is also generated with 11 lines. This final pattern is suitable to the concept and less complex to build in real life.

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After analysis, the green a force onto a surface and crea points will remain stable this ca a mini version of the whole gr main parks areas have to stan create the same flowing of vis

1. The main green area of the site as the base of the form 2. Vertices are explore from the surface 3. 11 ways people can access and run through the site are 11 anchor points of the kan definition. 4. 3 points of the three main parks need to be highlight within the form so more applied to create greater bending within these 3 points

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FORM FINDING METHOD

area as the base of the form. Kangaroo is the technique for form finding as it can apply ate a structure using anchor points. It will apply force onto the surface while the anchor an generate many possible form for the pavilion. The aim of this form finding is exploring reen area to let visitors acknowledge the three main parks of the site. Therefore, three nd out from the form, and the anchor points are 11 ways visitors can access the site to sitors through the site.

ngaroos force is

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L FORM AND MAPPING ON SURFACE

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After real life The site most pe accessib abstract

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SITE RE-SELECTION

r finishing the form finding, I realized the form is too big and it is not possible to build in with massive scale. Therefore, I re-select the area where I want to place my pavilion. e highlighted that the middle of the trail where it connect with the bridge is where eople access as people cross the bridge to access the main trail and all directions of bility come to the middle point. This is the best location to place my pavilion as it can t most of people access the site.

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FABRICATIION FIELD In the fabrication process a problem explore as the field cannot hold itself up so a base structure need to be constructed to hold up the field.

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INT

1. Contour creates from the surface in explore general form of the whole pavilion 2. Notching creates from contour so th with interlocking.

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TERNAL STRUCTURE DEVELOPMENT

n a grid structure to n he structure is stable

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FABRICATION 1. 2.

Sent to fablab for laser cutting Layout and stick onto the foam broad

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DEVELOPMENT MODEL

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This kind of const

This conn internal stru pla

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f connection is flexible for truct bending and curves.

CONNECTION

nnection is notching of the ucture, the bolts and cleat ates provide extra support

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SOUTH ELEVATION

NORTH ELEVATION

WEST ELEVATION

EAST ELEVATION

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How It Is Experienced

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EFFECTS

Overtime, trees will grow along the structure and the pavilion will become part of the site.

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FEEDBACK AND FINAL MODEL CONSIDERATION

After the presentation, a few feedback helps me to consider my fabrication as the form of the pavilion is confusing. The main structure confuses the users and change the effect of the field. Therefore I should create another way to fabricate the field without the main structure to hold up the field.

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The Australian PlantBank, NSW by BVN architects

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FURTHER RESEARCH some designers, technology and clever passive design can only make an environmental statement so far as the architecture sits in harmony with nature, or as one famous Australian architect calls it, “touches the earth lightly”.

The Cairns Botanic Gardens Visitors’ Centre by Charles Wright Architects

Mirror Houses, Italy by Peter Pichler

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Using natural materials within topography-focussed form is thus a common strategy used by Australian designers looking to generate a connection between their project and site. However there are designers looking at new ways, beyond green roofs and hardwood construction, to combine nature with built form. They used mirrored facades in an innovative way to refocus the visual experience of a building back to its environmental surrounds. The mirrors serve as visual devices and direct the light and ocular experience of a building from the unnatural to natural. From thếese projects, I can think of ways to bring the environment to my project by reflecting the environment

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FURTHER RESEARCH I got inspired by this project as the architect used strings to hang the metal balls against a white wall which becomes invisible. The form of the project is flowing in the air, this effect can be applied into my project.

Cradle is a sculpture installed on the exterior wall of a parking lot in Santa Monica, California by Ball-Nogues Studio, originally designed by Frank Gehry. An aggregation of mirror polished stainless steel spheres, the sculpture functions structurally like an enormous Newtonâ&#x20AC;&#x2122;s Cradle â&#x20AC;&#x201C; the ubiquitous toy found on the desktops of corporate executives in Hollywood films. Each ball is suspended by a cable from a point on the wall and locked in position by a combination of gravity and neighboring balls. The whole array reflects distorted images of passersby.

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From th pattern to fo

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REDUCE PATTERN FOR FABRICATION

e inspiration, I decided to develop my model into a whole new different way, I reduced the ocus in a small area of the whole pattern.

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FINAL M

From th pattern to fo The fab desire field and pattern shapes I wa

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FINAL MODEL

MODEL DIGITALLY

he inspiration, I decided to develop my model into a whole new different way, I reduced the focus in a small area of the whole pattern. brication without the main structure require a ceiling and ground to hang the robs to create patterns. Also, the posts are there to support the structure. In the fabrication process, the top n field will interlock with each other so they can create the form. This way I can control the ant as the robs can be changed to create different shapes.

EAST

NORTH

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FABRICATION During the fabrication process, I realised reflective sheets can be used to reflect the form onto the ground and ceiling to emphasis the field patterns. The reflective sheets are used to mirror the field pattern which is in an innovative way to refocus the visual experience of a building back to its environmental surrounds, as the field represents the environment of the parks. The reflective sheets serve as visual devices and direct the light and turn the pavilion from unnatural to natural. 1. Holes are used to install the robs 2. Posts are used to push up the ceiling 3. The robs on the bottom interlock with robs from the ceiling 4. The ceiling is installed 5. The robs connect to the ceiling.

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FINAL MODEL

The model showed clearly the form of fields are reflected onto the sheets which creates an illusion within the space.

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CONNECTION the robs will be installed into the ceiling using metal clips which bolts into the ceiling so the robs will be stable for hang-ing

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EFFECT The pattern reflect onto the ground is the most successful effect of this model. The pavilion is opened to the reflective not only reflect the patterns but also surrounding environment which establishes a stronger connection between the pavilion the site. The visitors can see the patterns of field from the ceiling as well as ground which emphasis the illusion of field.

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c.4. LEAR

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RNING OBJECTIVES AND OUTCOMES From the feedback after the presentation, I further developed my ideas, specially, fabrication process. I learned that computation and reality are two completely different idea in fabrication. Many designs and illustrations can be created onto computer, which far more beyond the fabrication process. This is the stage of our design generation, a challenge for both engineers and architects to fabricate parametric model from computer to real life. Sometimes, additional structures need to be add into the project to create a stable structure but they cannot change the final effect of the model, for example, my field effect will be reduced if I have the main structure to support it, therefore, I have to think of ways to hang the field and create the final effect I want.

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REFERENCES Architecture And Design,. 2015. ‘Reflect On This: 5 Projects That Use Mirrors On Their Facades To Frame Nature | Architecture And Design’. http://www.architectureanddesign.com.au/ features/reflect-on-this-5-projects-that-use-mirrors-on-the. Colossal,. 2015. ‘City’. http://www.thisiscolossal.com/tags/city/ page/2/.

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